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Constantin Brancusi, View of the Studio: Plato, Mademoiselle Pogany II, and Golden Bird, ca. 1920, gelatin silver print, 11 3/4 × 9 1/2". From “In the Studio: Paintings”/“In the Studio: Photographs.” © Artists Rights Society (ARS), New York/ADAGP, Paris.

“In the Studio: Paintings”/“In the Studio: Photographs”

Gagosian | 522 West 21st Street

Constantin Brancusi, View of the Studio: Plato, Mademoiselle Pogany II, and Golden Bird, ca. 1920, gelatin silver print, 11 3/4 × 9 1/2". From “In the Studio: Paintings”/“In the Studio: Photographs.” © Artists Rights Society (ARS), New York/ADAGP, Paris.

Though I am not in perfect sympathy with all of the fifty-one artworks by thirty-six artists and some 150 photographs by fifty-two photographers chosen for this hugely ambitious Gagosian doubleheader, I admit to being awed by many of the loans secured from public collections—always a challenge for a private gallery. Of them, the Picasso classical-period still lifes from the 1920s and Jasper Johns’s paintings took pride of place. Particularly subtle was the way in which the whitish planes of color and rectangular collage-like structure of Picasso’s two 1928 L’Atelier works—brought together here for the first time in the United States—were seemingly absorbed whole cloth into Johns’s encaustic and collage In the Studio, 1982.

But could there really be any surprise at the embarrassment of riches that was provided by these shows? After all, the curators of the exhibitions

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